Kate Chopin's: The Story OF THE Hour

Initially, the type of Mrs. Mallard appears to be presented as a vintage woman "suffering from a heart and soul trouble" (442). However, it is uncovered that Mrs. Mallard is young with "a good, peaceful face whose lines bespoke of repression" (442). With this revelation, Chopin's theme of repression becomes apparent, and out of the blue it is much easier to notice just how carefully Chopin constructions "THE STORYLINE of an Hour" to provide her commentary: Mrs. Mallard's original result of grief quickly subsides to happiness as she appears onto the clouds with "patches of blue", "trees and shrubs that were all aquiver with the new spring life", and the "delicious breath of rain" (442). These positive images serve to represent the character's emotions of joy as she transitions into her own individuality. Likewise, her contemplations regarding how she loved her man quickly changeover into how she only liked him sometimes, and she finally determines that she had often not treasured him. The development of the character's thoughts from her guilt and grief, her original turn against her spouse, and finally into her full blown sense of independence reveal her first repression, blossoming home recognition, and her final breakthrough of self-identity as Louise respectively.

The display of Mrs. Mallard's first name, Louise, comes at the time when she seems most free. Only after her husband's death in her preliminary moment's of grief and solitude will Mrs. Mallard become completely alert to herself. Until that point, her individuality as a person was repressed to being Mr. Mallard's partner. Louise no longer feels grief over the news her husband's death, but rather, she feels "Free! Body and heart free!" (443). She beings to revel in her freedom, thinking about her future life - her own life. Sadly, her new found flexibility vanishes with the looks of her husband and the repression he represents as alive and well. In the end, Louise dies with "a enjoyment that kills" (443) - tragically ironic in more than one sense of the word or perhaps true to what as her fatality make her fully free.

A Good Man is Difficult to find (250)

Flanner O' Connor's uses irony in "A Good Man is Hard to Find" from the Misfit, whose ruthless murder of the family actually serves as a form of salvation to the grandmother. The grandmother's tales concentrate on her need to marry Mr. Teagarden because he was a rich man suggesting her choice of material property and superficial items alternatively than love and personal connections. She actually is shown as selfish in her opinions as she proclaims her desire to go to Tennessee while never considering the opinions of all of those other family to go to Florida. She is placed to her family and constantly chastises her boy. Her selfishness also becomes noticeable at the end of the storyplot when she declares that she will give away most of her money to Jesus so that they can save herself. On top of that, she seems to only plead on her behalf own life as The Misfit and his posse slaughter his family around her. Her own values are shaky at best, but she constantly criticizes how people live their lives. By contrast, the Misfit's philosophies while twisted are regular in guiding his life. Only because she is facing death will the grandmother realize her own hypocrisy, she realizes how she's flaws like every person else, and this she has considered the wrong path in life. In a final cry, the grandmother declares the Misfit as "one of my newborns" (257) suggesting her newfound understanding and through her moment in time of compassion - elegance.

To WATCH OUT The Home window (404)

Orhan Pamuk's "To WATCH OUT The Windows" is less of a tale and more or a nostalgic recollection of his child years. The author will take the reader back to 1950's Turkey before tv set had arrived in his area. Pamuk muses the boredom of life was "fought off by listening to the air or searching the windowpane into neighboring rentals or at people transferring in the pub below" (404). Pamuk offers his own young eyes as a point of view of another time and location to the reader.

Using this zoom lens, the child's immature understanding of his situation are clearly narrated on the top. Preoccupied with bubble gum and cards like any child, he recalls the occasions but struggles to fully comprehend the reactions, motivations, and occasions bordering his adult family. With this backdrop established, more significance is placed into the silences and nonverbal activities of the individuals throughout the storyline. While the narrator is too young to fully comprehend the existing situation between the family people and the deeper meanings included, he often records how the character types say "nothing" during key parts of the story. The daddy falls silent in a discussion with his partner suggesting his unhappiness. Upon obtaining the father's absence, the narrator's mom maintains her poker face for the children, but her silence down the road clearly implies her true emotions.

Often during these silences, the characters are depicted as searching of their window. Right before his father leaves, the narrator recalls how his father "took me in his lap, and for a long time we viewed out the window alongside one another" (408). In the same way, the mother's response after realizing the true characteristics of the father's absence is unveiled as the narrator comments, "She said nothing at all. In the silence of the night, we watched the rainy streets for a very long time" (411). Pamuk uses the imagery as each characters looks out the home window to relate the real significance of key points throughout the storyline. With the child's young ignorant sight, the silences of every character, and the imagery as they watch out the home window say a lot more than can ever actually be said.

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